AS-AP

Survey: La Mamelle, Inc./Art Com

Posted August 05, 2010 by Anonymous
Organization: 
Part 1.
Year Founded: 
1975
1b. Primary activity[ies] of the organization.: 
This is historical information; no longer maintain a physical space/active organization.
1c. Organization's annual budget.: 
$50,001 - $100,000
1b. Primary activity[ies] of the organization.: 
Exhibition Space
Performance Space
Printed Periodical / Publication
Presenting Organization
Part 2.
2a. Mission Statement: 
La Mamelle / Art Com is a non-profit artist-run organization, active from 1975-1995. During this period, the organization was interested in alternative forms of making art, experimenting with form and material and questioning the definition and boundaries of art. The organization was involved in a multiplicity of activities including publishing, maintaining an artists’ space supporting performance art, exhibitions, video production and screenings, a library, distributing artist-produced works, and creating one of the first artists’ online networks.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
Established in 1975, the first venture of the organization was in the realm of publishing. La Mamelle Magazine, v.1(1) was published in summer 1975. The organization then opened an 8,000 sf space in San Francisco at the beginning of 1976 as an alternative exhibition and performance space. From 1975 through the 1980s the organization supported live art, electronic media including video, artist-curated exhibitions, a bookstore with artists’ publications. It established and supported a growing repository of information about new art activities worldwide, and the first Video Art archive in northern California. In 1980, the organization began using the name Art Com, and supported programs that promoted the intersection of the arts and technology. It programmed video and audio works by artists on community access television and radio stations, cable TV and collaborated with other artists on video works and telecommunications projects. As publishers, the last issue in print format of Art Com Magazine (formerly La Mamelle, then Art Contemporary) was published in 1984 and became an e-journal in spring 1986 with the launching of the Art Com Electronic Network. ACEN was one of the first interactive online artists’ networks, conceived as a ’virtual village’ that focused on building a cultural environment and creating art through a global participatory process. From 1980 through the mid 1990s, the organization also ran Contemporary Arts Press Distribution and Art Com Media Distribution, an entrepreneurial effort to distribute artist-produced publications and media to libraries, bookstores, and television stations worldwide.
Website Link to Organization's History / Organization Overview: 
See http://www.library.sfsu.edu/dtong for images of art activities and preparation of the archives.
2c. Exhibition / Programming / Publishing History.: 
Selected Publications/Works: BY La Mamelle/Art Com o Catalog Publications All Xerox, January 1976. Futurist Synthetic Theatre, February 1976. Performance series catalog. Symbolic Reflexive, 1977. Exhibition catalog featuring the works of Paul Forte. West Coast Conceptual Photographers, March 1976. Exhibition catalog. Women and the Printing Arts, 1977. Second edition of exhibition catalog originating from the joint exhibition of women’s publishing held at The Women’s Building and Double X, Los Angeles, and La Mamelle, Inc. in San Francisco. o La Mamelle / Art Contemporary / Art Com Magazine Published by the La Mamelle/Art Com organization from 1975-1992. La Mamelle, v.1 (1), Summer 1975. Premier issue, an alternative anthology of contemporary West Coast art. La Mamelle, v.1(2), Fall 1975. La Mamelle, v.1(3), Winter 1976. Video Issue. Tabloid format. La Mamelle, v.1(4), Spring 1976. Performance issue. Large tabloid format on newsprint. Art Contemporary / La Mamelle, no.5, v.2(1), 1976. Moved to standard 8 1/2” x 11” format. Art Contemporary / La Mamelle, no.6/7, v.2(2/3), 1977. Red cover. La Mamelle Magazine: Art Contemporary, no.8, v.2(4), 1977. Chipboard cover. Art Contemporary, no.9, v.3(1), 1977. “From Europe” issue. Chipboard cover. Art Contemporary, no.10, v.3(2), 1978. Newsstand edition, tabloid format. La Mamelle Magazine: Art Contemporary, no.11, v.3(3), 1978. Art Contemporary, no.12, v.3(4), / Only Paper Today, v.5(6), 1978. “Special Transmittable Booklet Issue,“ designed to be re-assembled into individual artists’ books. Published by La Mamelle in Toronto during August 1978. Art Contemporary, no.13, v.4(1), 1979. “Retrospective Issue,” the exhibition catalog for a La Mamelle retrospective exhibition at the San Francisco Museum of Modern Art, December 21, 1979 - February 3, 1980. Art Com, no.14, v.4(2), 1981. Shifted to new name, focus on new media, artists’ use of technology, as well as continued coverage of performance, video, artist publishing and new art activities. Art Com, no.15, v.4(3), 1981- no.25, v.7(1), 1984. #25 was last issue published on paper of Art Com magazine. Art Com Magazine, no.26, v.7(2), 1986 - no.57, v.13(2), April 1992. Published as an electronic journal on the Art Com Electronic Network from spring 1986 (#26) until April 1992 (#57). o Front A contemporary art newspaper published by La Mamelle Inc., conceived as a voice for the Arts Center and for the interest of the Bay Area art community. A total of four issues were published -- v.1(1), January 1976 - v.1(4), May 1976. o Contemporary Arts Press Correspondence Art: Source Book for the Network of International Postal Art Activity. Michael Crane and Mary Stofflet, eds. San Francisco: Contemporary Arts Press, 1984. Contemporary Documents series. Performance Anthology: Source Book for a Decade of California Performance Art. Carl Loeffler and Darlene Tong, eds. San Francisco: Contemporary Arts Press, 1980. Updated edition, published by Last Gasp Press and Contemporary Arts Press, 1989. Contemporary Documents series. Micropublished Documents, 1979 Project to provide archival microfiche documents of new art publications, including publications of La Mamelle/Art Com as well as other artist publishers. o Audiozine An audio cassette magazine published by La Mamelle Inc. Editor: Carl Loeffler. Audiozine One: The Selected Letters of Lew Thomas, 1977. Anthology of textual readings of letters by Lew Thomas, publisher of Not-for-Sale Press. Approx. 60 min., mono. Audiozine Two: The Sound of Wind/Limb by Stefan Weisser, 1977. New electronic works in performance with multiple voices in two tape directions. Approx. 60 min., mono. Audiozine Three: New Work by Dominic Alleluia, 1977. Electronic composer and sound poet in concert. Approx. 60 min., mono. Audiozine Four: Variety Theater, 1977. International anthology of sound poetry compiled by Stephen Ruppenthal and Larry Wendt. Approx. 60 min., mono. Audiozine Five: Community Art Radio, 1977. Anthology of community radio events organized by Larry Nimmer and sponsored by La Mamelle. Approx. 60 min., mono. Audiozine Six: Homage to Endre Tot, 1977. A sound poetry event in homage to Endre Tot, from Bill Gaglione and Carl Loeffler. Approx. 60 min., stereo. Audiozine Seven: Peter Plonsky, 1978. An anthology of new music works composed and performed by the originator of “mind emission.” Approx. 60 min., stereo. Audiozine Eight: Brebeuf, A Martyrdom of Jean De, 1978. Performed by Eldon Garnet, editor of Impulse magazine, Toronto. Approx. 60 min., mono. o Imagezine A magazine published on a rubber stamp format. “If art publishing is the making public of art information, then Imagezine imprints upon surfaces is art publishing. Be an art publisher!” Editor: Carl Loeffler. Rubber stamp, approx. 2” x 4” with handle. Imagezine, [v.1(1)], 1977. Homage to Endre Tot. Imagezine, [v.1(2)], 1977. Imagezine Permutations. Imagezine, v.1(3), 1977. Daddalione 1940-2040, Homage From Peter Frank. Imagezine, v.1(4), 1978. The Mail Box Is a Museum, Homage to Judith Hoffberg. o Videozine A magazine on video tape, published by La Mamelle Inc. Editor: Carl Loeffler. Videozine One, 1977. Anthology of contemporary art activity, including new sculpture, performance, sound poetry, language and political art works. 30 min., b/w. Videozine Two, 1977. Buddha in Quantum Land, by Michael Gibbs. A real time passage through ’Quantum Land’ by the editor and publisher of Kontexts magazine on language art, Amsterdam. 30 min., b/w. Videozine Three, 1978. Anthology of new poetry works, including sound poetry, punk, edselism, Dada and actualist art works. Edited by Carl Loeffler, GP Skratz, Raul Marroquin. 30 min., b/w. Videozine Four, 1978. Eldon Garnet anthology. A collection of performance, sound poetry, situational art works by the editor of Impulse magazine on art and photography, Toronto. 30 min., b/w. Videozine Five, 1978. Performance sampler. An anthology of performance art works presented at La Mamelle between 1975-78. 30 min., b/w. Videozine Six, 1978. New Video Performance, an anthology of performance works in a live cablecast or simulated broadcast situation, originally taped during ’A Literal Exchange’ in Toronto. Approx. 35 min., b/w and color. o Performance Presentations/Events 1976 Performances/Events Susan Wick/Margaret Fisher, Shift (February 19) Futurist Synthetic Theatre, performance series (February 27) Soon Three/Alan Finneran, Soon Three: Modular Theatre/Cinema Sculpture (February 28-29) Phil Deal, Kinetic Light & Sound Sculpture (March 1) Stefan Weisser/Ishi Sharpe, Life Poetic Essence: A Texturalingual Environment, performed Easter morning (April 18) Paul Cotton, Nude Descending Staircase (April 23) Paul Forte, 29th Birthday, rubber stamp performance/installation (April 23) T.R.Uthco, 32 Feet Per Second Per Second, performance on facade of 3rd floor La Mamelle Center (April 26) Nina Wise, Death Meditations: Helen Brown at the Piano (May 7, 8, 9) Hesh Rosen, The Illusion of Being Male & of Being Female (May 14-15) MOTION The Women’s Performing Collective/Jock Reynolds, Packages I, Packages II, Packages III (May 21, 22, 23) Carl Loeffler, Sanding Circles, video performance (May 24) Kevin Costello, Juvenilia/Bovine Pastorale, installation and performance (May 20 - June 4) Woofy Bubbles & Mister E., A Performance and/or Costumed Musical (June 5) Dana Atchley (Ace Space Co.), The Great North American Real Life Medicine Show (September 17-18) Norman Gould, Fat Man Dancing (September 24) Willoughby Sharp, Willoughby Sharp’s ’Vicarious Encounters,’ video performance installation and videotapes (September 28 - October 7) Terry Sendgraft, On the Eve of My 43rd Birthday (October 9) Peter Wiehl, Pulling Strings (September 7) Paul Forte, Within and Without, installation, performance, videotapes (October 12) Paul Forte, Something Without Time Reflecting the Motions Of..., performance and videotape (c. October) Martha Wilson, Ditto (October 20) The Bay Area Dadaists, Sound Poem Performance (October 29) Richard Kostelanetz, Three Prose Pieces: ’Plateaux,’ ’Recyclings,’ ’Excelsior’ (October 31) Margaret Fisher/John Adams/Virginia Quesada, Studebaker Love Music, Roller Rink, Saxophone and other stories (November 5-6) Linda Montano, Learning to Talk and Potluck (November 9) The Registry (Richard Fong, Masashi Matsumoto, David Ng, David Watanabe with Uronovitz), One Hundred and One Toasters, performance/installation, (November 12) Richard Newton, In the Privacy of Your Own Home (November 13) Joseph Rees, Food/Teaching the Colonel How to Walk a Chicken (November 19) Mark Gilliland, Recent Video Essays, videotapes (November 20) Geoffrey Cook with Dadaland, Photography aka Duck Bread, or Photographic Concepts after Lew Thomas, performance/installation (November 21) Richard Alpert, Sylph, video performance/installation (November 26) Don Button, Reading Room, Local Motion, Scanning South to North, West to East, film performance and videotapes (November 27) Leland Fletcher (Department of Art Works), Printed Circuit/Solid State, installation (November 28) John Stascak, installation/film/video sculpture event (December 7-14) Anthony Gnazzo/R. Pritchard/et al., The Unfortunate Diving Duck Trilogy, Part II: Nearsighted Dancers Sing the Old Songs, musical works/performance (December 17) Carlos Gutierrez-Solana, Drawing Quarters, performance (December 18) Carl E. Loeffler, Hats Off to Paul Cotton, performance (December 19) Video 1976 (September 13 - December 31) Coordinated by Peter D’Agostino. Programmed on Community Access Television, San Francisco. Video works by artists. Artists included: Mark Gilliland, Willoughby Sharp, Ant Farm, Connie Sherk, Joel Glassman, Darryl Sapien, Richard Kostelanetz, Don Button, Peter D’Agostino, T.R.Uthco/Ant Farm, Terry Fox, John Stascak, Jim Edwards, Carlos Gutierrez-Solana, Helen and Newton Harrison, Susan Wick, Mary Winder Baker, Debra Rapoport, Irv Tepper, Alan Sekula, Martha Rosler, and others. o Video Seminars 1976, in cooperation with Lone Mountain College, Wednesday evenings: Willoughby Sharp, Vicarious EncountersI, video performance (Sep 29-Oct 6) Terry Fox, Children’s Tapes, videotape (Nov 17) Peter D’Agostino and Lynn Hershman, The Floating Museum, video/film (Nov 24) David Ross, Recent Los Angeles Video Work (Dec 1). o Community Art Radio 1976 Coordinated by Larry Nimmer, broadcast on KPFA Radio, Berkeley. Artists: Ken Friedman, Doug Kahn, Tommy Mew, Fletcher Copp, Richard Alpert, James Melchert, Patrick Ready, Hank Bull, Western Front, Heather White, Jim Koch, Bay Area Dadaists, Lew Thomas, Mel and Gloria Nimmer, Helen and Newton Harrison, Terri Hanlon, Bob Wilhite, Stephen Moore, Center for Contemporary Music at Mills College, A. Lucier, Peter Van Riper, John Lanzone, and others. o Video Documents A series of performance works documented on videotape. Performances within this series occurred before a live audience at La Mamelle, privately or live over cable television. o Anna Banana and Bill Gaglione, Dada Shave, 1975. Editors of Vile magazine in private performance, an homage to Dada. Approx. 13 min, b/w. o Gene Beery, You Are Here, 1975. Private performance. Approx. 10 min., b/w. o Paul Forte, Something Without Time Reflecting the Motions Of, 1976. Gallery performance, Forte constructs a reflecting pool filled with black water in an equivalent to a Sanskrit dot, w/ video camera. Approx. 5 min., b/w. o Ken Friedman, Paik’s Third Symphony, 1975. Private performance of the 3rd symphony written by Nam June Paik, subtitled, Young Penis Symphony. Group performance, directed by Friedman. Approx. 8 min. b/w, no audio. o Cheri Gaulke, Talk Story, 1977. Gallery performance based on three fairy tales. Approx. 45 min., b/w. o Norman Gould, Fat Man Dancing, 1976. Gallery performance. Approx. 10 min., b/w. o Susan Wick, Mary Winder Baker, Debra Rapoport, Transformation, 1975. Private performance from conception through completion, artists transform themselves and their studio using costume and decorative materials. Approx. 49 min., b/w. 1977 Performances/Events Gene B. Beery, Meet the Artist, artists’ readings and life performance (March 11) Gordon Morris, Performance Documents, readings, audiotapes, video performance (April 21) Doreen Schechter, Live Xeroxes, video performance combining video, movement and music (May 18) Nathera Mawla, Dance Piece/Peace, dance performance, video documentation (July 30) New Sound Poem Performance, Sound Poems, performance, video documentation (August 6). Performing: Bill Gaglione, Anna Banana, Boyd Rice, Buster Cleveland, Stefan Weisser, Ron Illardo, Tim Mancusi, Geoffrey Cook, Rama Lama, Joel Rossman, Paul Forte, Toby Lurie, and others. Norman Gould, Fat Man Dancing and Other Tapes, videotapes (August 13) Stefan Weisser and Michael Bell, Visuosonic, sound poetry performance and visual poetry installation, video documentation (August 19) Linda Evola, Nexus III, dance performance combining laser projections (August 19) Stefan Weisser, The Sound of Wind and Limb, new music performance with found percussion instruments, performed in elevator shaft of 70-12th Street, audio documentation (August 28) Send/Receive, Send/Receive Satellite Network: West Coast Programming, two way coast to coast satellite transmission with various artists participants, video documentation (September 10-11). Among many West Coast participants: Margaret Fisher, Terry Fox, Sharon Grace, Carl Loeffler, Richard Lowenberg, Alan Scarritt. Claudia Chapline, Passages, dance and new music with Leonard Ellis, video documentation (September 11) Norma Jean Deak, Travel Log, performance, video documentation (September 25) Martha Rosler, Garage Sale, two day staged event in the garage of 70-12th Street, audio recording, video documentation (October 2) Art Publishers Convention, a joint project of Stephen Moore, Director of San Jose State University’s Union Gallery, and Carl Loeffler, Director of La Mamelle, Inc., video documentation (October 8-9). Among artist writer/publisher participants: Dominic Alleluia, Anna Banana (Vile Magazine), Julien Blane (Doc(k)s, France), Frances Butler (Poltroon Press), Gugliemo Achille Cavellini, Buster Cleveland, Paul Cotton (Trans-Parent Teachers Ink), Michael Crane (Running Dog Press), Betsy Davids (Rebis Press), Vic d’Or, Leonard Frank Duch (Arte e Vida, Brazil), John Faichney (Supervision Publications), Ann Flanagan (Ann Flanagan Typography), Paul Forte, Peter Frank, Ken Friedman, Bill Gaglione (Vile, Dadazine), Eldon Garnet (Impulse), Elpidio Gonzalez (Centro de Arte y Comunicacion, Argentina), John Grayson (ARC Publications), Klaus Groh (International Artists Cooperation/Dada Research Center, Germany), Paul Harris (Poltroon Press), Sue Heinemann (Heresies), Lynn Hershman (Floating Museum), Judith Hoffberg (Umbrella), James Hugunin (Dumb Ox), Ron Illardo (Illardo Publications), Jan Jemison (Black Art Quarterly), Carl Loeffler (La Mamelle Magazine/Art Contemporary), Harley Lond (Intermedia), Amerigo Marras (Supervision Publications), Gregory Miller (Sweet Press), Stephen Moore (Union Gallery), Richard Mutt (R. Mutt Gallery), Name Gallery, James Petrillo (Rebis Press), Donna Lee Phillips (Camerawork Press), Clive Robertson (WORKS Publications), Frank Salantrie (The Original Art Report), Kenneth Shein (Trike), G.P. Skratz (J. Stone Weekly Press), Rolf Staeck (Skunk Art), Mary Stofflet, Balint Szombathy (EA Publisher, Yugoslavia), Lew Thomas (Not For Sale Press), Gabor Toth (EA Publisher, Hungary), Stefan Weisser (X Press), Steve Wheatley (Caligula Books, England), Susan Wick (Wick’s Books), Martha Wilson (Franklin Furnace), Frederick Worden (Criss Cross Art Communications), Horacio Zabala, Jon Zimmers. Ken Friedman, Empowerment: Practical Application of the Sociological Perspective for the Arts Community, a symposium with Geoffrey Cook, Michael Crane, Ken Friedman, Arlene Goldbard, Amerigo Marras, John Fatchney, Lynn Hershman, Bonnie Sherk, video documentation (October 10-11) Cheri Gaulke, I Am Cinderella..., performance, video documentation (October 16) Nancy Buchanan, Purist/Purest, performance, video documentation (October 23) Hak Kyung Theresa Cha, Looking for the Roots of the Language Before It Is Born on the Tip of the Tongue, performance, video documentation (October 30) T.R.Uthco, Really, I’ve Never Done Anything Like This Before, video performance (November 4). Artists: Doug Hall, Diane Hall, Jody Procter. Fern Friedman, Terri Hanlon, Deborah Slater, Waitress, performance with dance and new music, video documentation (November 6) Dept of Art Works, Location Pine and Kearny Streets, installation (November 8) Judith Barry, video performance with multiple video and audio systems (November 13) West Coast International Sound Poetry Festival, live performance, audiotape, and symposium, audio documentation (November 18-20). Participants: Oronzo Abbatecola, Dominic Alleluia, Beth Anderson, Bay Area Dadaists, R Berretto, Henri Chopin, Geoffrey Cook, Betsy Davids, P Dutton, Bill Gaglione, Bernard Heidsieck, The Horsemen, Lawrence Kucharz, Philip Loarie, Carl Loeffler, Toby Lurie, Steve McCaffery, BP Nichol, Manuel Nieto, Sean O’Huigin, Pauline Oliveros, Jim Petrillo, Virginia Quesada, Henry Rasof, Boyd Rice, Marian Robinson, Jerome Rothenberg, Stephen Ruppenthal, Valerie Samson, Daniel Schmidt, Paul Williams Simons, GP Skratz, Tael Thomas, Stefan Weisser, Larry Wendt, Mary G West, Trevor Wishart, among others. Judith Azur, Spaces II, dance and video performance with Curt Siddall and Margaret Fisher (December 2) Joyce Cutler Shaw, The Lady and the Bird Messaqe Exchange, and The Lady and the Bird Texts, readings from artist texts, audio and video documentation (December 3) Video o Video Documents A series of performance works documented on videotape. Performances within this series occurred before a live audience at La Mamelle, privately or live over cable television. o Stefan Weisser and Michael Bell, Visuosonic, 1977. Gallery peformance of new music, sound poetry, and visual-aural works. Approx. 27 min., b/w. 1978 Chip Lord and Phil Garner, Chevrolet Training Film: The Remake, video performance (April 29) Randy and Baranicci, As the World Burns, video cabaret production (May 1) Literal Exchange. Artists from La Mamelle in San Francisco and from A Space in Toronto, literally exchanged gallery and living spaces for one month (August). Performances presented and produced for video environments at A Space included: live performance simulating a television broadcast studio undergoing transmission of a typical California talk show; video performance (August 12) presenting pre-recorded cable cast programming, International dance contest. Artists: Anna Banana, Buster Cleveland, Dadaland (Bill Gaglione), Kirk DeGooyer, Paul Forte, Nancy Frank, Eldon Garnet, Norman Gould, Carl Loeffler, Willoughby Sharp, GP Skratz, Mary Stofflet. Video o Video Documents A series of performance works documented on videotape. Performances within this series occurred before a live audience at La Mamelle, privately or live over cable television. o Farrow-Hamilton Report, 1978. Collaborative performance in a live cablecast situation written by Carl Loeffler and G.P. Skratz, featuring Darrell Gray, Phil Loarie, Nancy Frank, Victoria Rathbun, and others. The news as reported by Actualist Poets, with live mini-cam reports from the Seventh Actualist Convention, including commercials. Approx. 30 min., b/w. o Grin of Vampire, 1978. A collaborative performance in a live cablecast situation. Carl Loeffler and G.P. Skratz are features in ’cowboy vampire legend’ with Nanos and Katrina Valeritios. Approx. 30 min., b/w. o Panoramica, 1978. Collaborative performance for a pre-recorded cablecast situation conceived by Raul Marroquin, editor of Fandangoes Magazine in Amsterdam, and produced while artist-in-residence at La Mamelle. Features: AA Bronson, Jorge Zontal, Flvio Belli, Felix Partz, Tom Dooly, Scott Jablins, Janis Collins, Titus Muizelaar, Nancy Frank, Bonnie Sherk, Koos De Vos. Approx. 45 min., b/w. o Send/Receive, 1978 “In 1978, Art Com experimented with the progenitor of distribued virtual spaces: computer-run, slow-scan video networking. A transcontinental satellite performance event, using phone lines and video allowed artists to epxeriment together over long distance.? -Send/Receive? 1979 o Produced for Television, 1979 Combined performance and video, creating a “new performance in a live broadcast situation.” Four part series included: Chip Lord, Barbara Smith, Chris Burden, and Lynn Hershman who presented performance works live before a television viewing audience. o Chip Lord and Phil Garner, Autoparts, 1979. Performance designed for television with two men in a convertible driving a stretch of freeway while engaged in conversation of world affairs. Approx. 15 min., color. o Barbara Smith, Just Passing, 1979. Performance explores artist’s relationship to television and reflections from stages in her part. Approx. 15 min, color. o Chris Burden, The Big Wrench, 1979. Narrative work describes artist’s relationship with Big Job, a freight truck purchased for traveling exhibitions and other mobile works. Approx. 15 min., color. o Lynn Hershman and Rea Baldridge, Test Patterns, A Factional Docudrama (in time), 1979. A Myth America production featuring an interview with one of the “art world’s” most alluring personalities, with introduction by Timothy Leary. Approx. 15 min, color. 1980 Teleperformance. Three days of performances at The Farm, organized by La Mamelle, in conjunction with the “Artists’ Use of Telecommunications” event at the San Francisco Museum of Modern Art. A performance/ simulated teleperformance series by New Wave and contemporary artists utilizing elements of telecommunications. Artists: Douglas Davis, Liza Bear, Paul McCarthy, Richard Alpert, Kevin Costello, Bob and Bob, The Nickelettes, John Collins, Bob Davis and Pam Minor, Nancy Evans, Jim Petrillo and Betsy Davids, GP Skratz, Mutants, Mark Pauline, Damage Magazine, Z’ev. o Artists’ Use of Telecommunications in Contemporary Art, 1980. Coast to coast live event brought together internationally known artists working with telecommunications to discuss and explore ideas pertaining to satellites and slow-scan video. Featuring two-way slow-scan video, audio and personal computer link, the event took place in ’telecommunications space’ with participants located in San Francisco, New York, Toronto, Vancouver, Vienna and Tokyo. Held at the San Francisco Museum of Modern Art, West coast activity was a project of La Mamelle and organized by Bill Bartlett, Sharon Grace and Carl Loeffler. Participants included: in Vancouver, Western Front, Hank Bull, Kate Craig, Glen Lewis; in Hawaii, University Art Department, John Southworth; in Tokyo, Tsukuba University, Micahel Goldberg; in Toronto, Trinity Video and Ontario College of Art, Norman White; in New York, Alternative Media Center/NY City University, Douglas Davis and Martin Neisenholtz; in New York, Center for New Art Activities, Liza Bear and Willoughby Sharp; in Cambridge, MA, Center for Advanced Visual Studies at MIT, Aldo Tambellini; in Victoria, BC, IP Sharp Association, Mike Powell; in Vienna, Museum Des 20. Jahrhunderts, Bob Adrian, Grita Insam, and Kunstlergruppe; and San Francisco, Bill Bartlett, Sharon Grace, Robert Keil, Carl Loeffler, David Ross, Gene Youngblood, and more. 1981 Performing Performance (September, October, November, December). A series reflecting a new 1980s sensibility of performance art presented for a viewing audience, reflected in the new ’cabaret setting’ created at La Mamelle gallery space. September performances featured: GP Skratz, Novacaine, classic punk and new wave works on jug band instruments; Jacki Apple, Free Fire Zone, a multi-media exhibition utilizing time delay synchronization of two monitors and film projected on screen; FSA (Fake Stone Age), Environmentals, in which Jeff Stoll and Tom Patrick perform new music work. Third weekend of performance (Sept 19), a collection of works of poetry, dance, sound, and video as performance featuring: GP Skratz, The Typewriter Tapes, poetry reading; Judith Barry, Casual Shopper, videotape; Sue Fishbein, Portmanteau, sound performance Fourth weekend of performance (October 3) featuring: Joyce Cutler Shaw, Messenger, performance reading with slides; Charlie DiCostanzo, Reversal - An Autobiographical Self-Portrait; GP Skratz, Only Poetry Show; Aline Mayer, I Never Wanted a Baby Boy and Word of Mouth, experimental films; Betzy Bromberg and Laura Ewig, Erasmus; Dory Allen, Inside/Outside, short film about artist Lynn Hershman; Richard Irwin, My Sumerian Vacation, performance with sound and slides; GP Skratz and Linda Lemon, Mom & Pop T.V., fusion of tapes from 1979-80 An evening of performance and selected Super-8 films (October 10): Leonard Kallock, Tin Sandwich, sound performance with harmonicas; Scott B & Beth B, Letters to Dad, a Super-8 film; Michael Peppe, Tirade (fall 1981). o Video 81, Art in the Right Context, October 1981 SF International Video Festival and La Mamelle sponsored two evenings of video showings. (10/23) Video and performance works by artists: Doug Hall, Chip Lord, Graeme Whifler, Dale Hoyt, Tony Labat, Kathy Acker and others. (10/24) Video and performance works by artists: Willoughby Sharp; Robert Ashley and John Sanborn’s The Lessons; Tony Oursler’s Grand Mal; Elizabeth Chitty, Patti Podesta, Michael Peppe, and others. 1982 Ondine presented film to a packed house at La Mamelle, preliminary to the Live x Live event. Ondine showed Andy Warhol’s Chelsea Girls, and The Loves of Ondine, plus Vinyl (March 12-13). Live X Live, a program in cooperation with the Four Artists Series, a project of the San Francisco International Video Festival. Performances featured: Eleanor Antin, The Battle of the Bluffs - The King Performance: Politics of Desperation at Solana Beach, a partially improvised, partially scripted narration and enactment of the Great Battle of Solana Beach. The King leads the “have nots” against the “haves.” One woman performance exploring the nature of self (April 16); David Antin, Let’s Encourage the Private Sector, a stand-up talk performance - a new narrative work about the boundaries where systems impinge and collide, creating areas of thought (April 17); Michael Smith, New York artist/comic in a premiere West Coast performance of a new work. Smith’s character, Mike, has developed a distinct personality which reflects the absurdities of urban life. Also featured was the videotape, It Starts at Home, a comedy pilot. (April) N.O. Show - Live performances/video for the N.O. Show, a nationwide multi-arts election-time event with artists participating: Bill Gaglione & Future Theatre, Tim Young, Irwin Irwin, David Ireland, Margo Adams, Peter Vigil, Duc Jun Quac, Helen Holt and Tom Patrick, Linda Frye Burnham, William Wegman. (Fall) o 1982 San Francisco International Video Festival Live performance/video seen at La Mamelle, included works by artists: Michael Peppe, 43 Characters; Tony Oursler, Puppet Show, Son of Oil; Mitchell Kriegman, Family Entertainment; Sights of the City (My Neighborhood); Dan Reeve, Smothering Dreams; Mark Pauline; Doug Hall, This Is the Truth; Graeme Whiffler, Songs for Swinging Larvae; Bruce and Norman Yonemoto, Based On Romance [Information compiled for book about artists’ spaces to be published by Zona Books in Italy.]
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Darlene Tong dtong@sfsu.edu
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Nancy Frank frankradin@comcast.net
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Marc Hebert marc.hebert@sierraatlantic.com
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Anna Couey couey@well.com
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Yes
Part 4.
4a. Is organization currently active?: 
No
4b. Year activity suspended if no longer active.: 
1997
Part 5.
5a. Type of organization at its founding.: 
Non-Profit [IRS certified]
5b. Type of organization currently, or at the termination of activities.: 
Non-Profit [IRS certified]
Part 6.
6a. Does the organization have an archive?: 
Yes
6b. Are there any short or long-term threats to the organization?: 
End of lease for your space resulting in termination of activities or changing of priorities
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
survey_field_130: 
Archives transferred to Stanford University and video transferred to Pacific Film Archives - both institutions have yet to process the materials and make them available to the public.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
Yes
7c. Does the organization know how and where to seek expertise and assistance?: 
Yes
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Other Concerns - Please describe below.
Part 8.
8a. Location: 
Stanford University received 300 linear feet -- primary LaMamelle/Art Com archives -- publications, artist periodical collection, artist book collection, artist files, organizational papers and residue/ephemera from performance, video, exhibition, events of the organization. Pacific Film Archive -- received "Artist Video Archive," hundreds of tapes of 1st-3rd generation artists. Also received tapes distributed by Art Com TV Distribution. Lengthy article describes archiving process in: Darlene Tong, "Artists’ archives: preserving the documentation and collections of an artist organization," Art Libraries Journals, v.27(2), 2002, p.22-27. Images of the archiving process available at: www.library.sfsu.edu/dtong
8b. Archival materials are also located at:: 
No
Where are these locations?: 
Where are these locations? [I.E. Home / Office of Private Individual(s) (i.e. Former Board, Staff, Funders, etc)]
Part 9.
9. Does the organization maintain archives for any other organization.: 
No
survey_field_49: 
While we did not ’maintain’ the archives of any other organization, La Mamelle/Art Com did collect many of the periodicals and information distributed by other alternative art spaces -- although by no means comprehensive, the archival material transferred to Stanford does paint a picture of alternative art activities of the 1970s-80s by many organizations worldwide.
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Yes
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
No
Part 10c.
10c. How are arrangements made for access to archive?: 
They are currently not available -- at Stanford, being store off-site until they process them.
Part 10d.
10d. Would you allow access in the future?: 
Yes
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Correspondence
Board Minutes
Exhibition or Production Files
Legal Documents
By-laws / Incorporation Documents
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Oral History, Recordings and / or Transcripts
Other Audio Recordings (i.e. records, etc.)
Slides
Photographs
Prints / Lithographs / Etchings / Screenprints / etc.
Videotapes
Unique Art Objects
Other Artwork. Please describe below.
Other:: 
Artists’ rubber stamps, artists’ books, artists’ periodicals, residue from performance art works and video productions.
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other:: 
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Brochures
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other:: 
Other Printed Publications
11e. Other: 
Props for Performances
Other:: 
Other
Part 12.
12. What years does the materials cover?: 
1970-1979
1980-1989
1990-1999
Part 13.
13a. How is the material stored?: 
Other - Please describe below.
Please describe: 
Archival boxes for materials that went to Stanford that fit in boxes; otherwise boxed in non-archival receptacles.
13b. Are some or all of these storage units “archival”?: 
Some
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
----
14b. Estimated Number of Archive Drawers: 
----
14c. Estimated Number of Archive Notebooks: 
----
14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a: 
200 +
Other Archive Storage Units - Please describe below.: 
300 linear feet of archival boxes if lined up (length of football field!) - Video in various sized non-archival boxes that went to PFA -- over a thousand tapes.
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Yes
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
Yes
16b. Paper-based:: 
Written or Typewritten Inventories
Other: 
Stanford will do finding aid/inventories when materials are processed; to transfer to Stanford, only broad descriptions of contents were written - including list of art periodicals.
Part 16 / Electronic Files & Archival Management
16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?: 
Yes
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
Already transferred archives to Stanford University and Pacific Film Archives - they will be responsible for working with archival material.
Part 17.
17. How are new materials processed?: 
We are not currently processing new material
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Not Applicable
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Not Applicable
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Would like institutions where archives were placed to start processing them.
20b. What are the biggest challenges to reaching these short-term goals?: 
Funding
20c. What goals are in place for the historical materials for the next three to five years?: 
Doctoral students and curators have inquired about the archives and want access to them. Our goal is that they become available for future research.
20d. What are the biggest challenges to reaching these long term goals?: 
Funding -- also, if these institutions wait too long, there will be a decreasing chance that the key players who could help with oral history and identifying materials will be available to help with the processing.
20e. Are there any additional goals for the organizations historic materials?: 
1.
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
----
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
----
Part 23.
23d. Other - Please describe below.: 
Know scope of your archival collections, repositories where they may be placed -- negotiations may take years and parts may need to be handled separately, by different repositories -- have a strategic plan in place -- these factors may drive priorities, and how you process your archives.
Part 24.
24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization: 
Promote professional standards / protocols for digitization
24d. Other - Please describe below.: 
The 2nd item seems unrealistic - it would be better to find an established institutional repository that will keep your materials, preserve them, and provide public access to them in perpetuity.
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
Yes
25b. Who?: 
As Head of Information Services at the J. Peul Leonard Library, San Francisco State University, my own institution has many archival issues. ARLIS/NA (Art Libraries Society/North America), is concerned with all aspects of art libraries including archives and tackles many issues related to archives, preserving materials both in print and digital, digital initiatives, technologies affecting libraries and archives. I’ve been an academic librarian and involved with LaMamelle/Art Com since 1977 -- I brought concerns from both arenas into the mix. My academic affiliation was a major driver in placing the archives at institutional repositories affiliated with research and higher education. -- Darlene Tong
Part 26.
26. Additional information, comments, observations, and questions.: 
You didn’t ask about references/bibliography about the organization. If this is going to be a searchable database to find out about organizations and their archival materials, you may want to ask for lists of publications ABOUT the organization, not just those published by the organization. I have a selected list that I compiled for Maurizio Nannuci’s book that will be coming out from Zona Books in Italy about Artists’ Spaces -- all of the organizations could decide how they wanted to present their history -- for LaMamelle/Art Com, besides a narrative of our activities, I compiled huge lists of activities, publications, and works about the organization.
Finish
survey_field_149: 
I wish to defer payment and allow AS-AP to use these funds to further AS-AP’s efforts to preserve the history of the alternative and avant-garde movement in America.
Is this survey complete and all appropriate questions answered?: 
Yes